Ifil 


I 


GUYRPSE 


CD 
V 

CO 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 

GIFT  OF 

Thomas  Q.   Lempertz 


T  se 

^°      ) 


GUY    ROSE 


by 


EARL   L.  STENDAHL 


Paintings     Photographed    by 
L.    E.   WYMAN 

Los  Angeles  Museum  of  Science,  History 
and  Art 


Published  by 
STENDAHL    GALLERIES 

The  Ambassador 


OCTOBER       1922 


ACKERMAN    PRESS 

Los  Angeles 


GUY    ROSE 

A  BIOGRAPHICAL  SKETCH 
AND  APPRECIATION 


Paintings 
of  France 
and  America 


'St. 


GIFT 


To    Emil    Carlson 


M853548 


The  Artist 


GUY   ROSE 

An  Appreciation 


TT  IS  good  for  the  disquieted  soul  to  meet  a  painter  who  is  an 
artist  by  every  instinct  in  his  nature,  who  is  a  thoroughly  trained 
craftsman  in  his  work,  and  who  is  modern  without  wild  vagaries. 
A  frank  disciple  of  Monet  and  his  school — in  fact,  he  has  lived  and 
worked  in  Giverny,  the  home  of  Monet — Guy  Rose  shows  in  his 
canvases  the  tonic  influence  of  these  sincere  students  of  plein-air. 
Like  them,  he  paints  the  out-of-doors,  its  colors  broken  into  beauty 
by  brooding  sunlight,  caressing  airs,  and  moving  winds.  Needless 
to  say  that  he  paints  much  in  the  "high  key,"  which  is  the  key  of 
nature. 

It  has  always  seemed  to  me  that  the  properly  trained  artist 
should  be  able  to  paint  everything  he  sees  that  has  the  qualities  of  a 
picture.  He  should  be  alert  to  every  impression  of  beauty,  be  it  in 
a  landscape  shrouded  in  mist,  a  figure  lighted  by  the  sun,  a  row  of 
huddled  old  houses,  trees  in  the  wind,  a  face,  a  piece  of  pottery. 
Any  of  these,  and  a  thousand  other  things,  may  become  the  subject 
of  a  masterpiece  of  painting,  for  light  has  the  power  to  make  them 
all  supremely  beautiful — light  and  the  painter. 

Guy  Rose  is  one  of  the  all-round  men.  His  mastery  over  his 
materials  has  kept  pace  with  his  eager  interest  in  the  multiform  life 
that  presented  itself  to  him  on  every  hand,  and  therefore  you  will 
find  no  monotony  of  subjects  in  the  present  showing — one  of  the 
most  comprehensive  and  representative  exhibitions  ever  held  in  Los 
Angeles. 

ANTONY  ANDERSON. 


GUY    ROSE 

His  BIOGRAPHY  IN  BRIEF 


Guy  Rose  was  born  in  San  Gabriel,  California,  on  his  father's 
ranch,  "Sunnyslopes,"  March  3,  1867,  and  is.  therefore,  to  be  num- 
bered among  the  very  few  "western  artists"  who  are  actually  so  by 
birth  and  inheritance. 

His  father.  L.  J.  Rose,  was  one  of  California's  pioneers,  travel- 
ing over  the  Santa  Fe  Trail  in  1858  with  his  family.  When  but  a 
few  days  out  of  Santa  Fe,  they  were  attacked  by  hostile  Indians, 
and  their  horses  and  wagons,  including  everything  they  had,  were 
stolen.  However,  no  one  was  killed.  Mr.  Rose  turned  back  to  Santa 
Fe,  where  he  lived  for  a  year,  earning  funds  with  which  to  continue 
to  California,  where  he  finally  arrived,  settling  at  San  Gabriel. 

It  wras  here  that  he  bought  land  and  began  to  develop  Sunny- 
slope  Ranch,  which  soon  became  famous  for  its  wines  and  oranges. 
Later.,  this  beautiful  ranch  was  sold  to  an  English  syndicate  for 
three  million  dollars.  The  sale  had  momentous  consequences.  It 
started  the  boom  in  California.  The  ranch  was  the  first  large  land- 
holding  to  be  sold  and  sub-divided,  and  the  price  at  that  time  was 
considered  phenomenally  large.  The  sale  created  intense  excitement, 


[3] 


GUY  ROSE 

it  raised  high  hopes,  it  turned  the  eyes  of  the  world  in  our  direction 
— and  they  haven't  shifted  to  this  day !  Mr.  Rose  also  owned  Rose- 
mead,  which  was  essentially  a  stud  farm  for  his  famous  race-horses. 
He  was  at  one  time  state  senator,  and  he  was  always  actively  inter- 
ested in  the  laws  and  the  development  of  California. 

And  now  we  come  to  his  young  son  Guy.  the  subject  of  our 
sketch.  After  he  graduated  from  the  Los  Angeles  High  School, 
where  he  had  early  shown  an  aptitude  for  art,  the  boy's  eyes  turned 
toward  San  Francisco.  Virgil  Williams  and  Emil  Carlson  were  con- 
ducting a  very  successful  school  there,  the  Art  Academy.  Young 
Guv  remained  in  the  northern  city  for  some  years,  winning  school 
honors,  as  well  as  a  medal  at  the  State  Fair,  and  it  is  to  Emil  Carl- 
son, excellent  instructor  and  consummate  painter,  that  he  feels  par- 
ticularly beholden  for  the  success  that  has  come  to  him.  This  in 
spite  of  the  fact  that  in  1888  he  went  to  Paris,  working  three  years 
in  the  Julian  under  such  masters  as  Doucet,  Constant  and  Lefebvre. 
He  spent  his  summers  in  painting  out  of  doors  in  the  many  charm- 
ing country  places  not  far  from  Paris. 

About  this  time  he  painted  a  large  picture  of  French  peasants 
that  won  him  warm  praise  at  the  Chicago  World's  Fair  of  1893. 
This  painting  was  reproduced  in  color  in  the  Art  Journal  of  the 
Exposition,  and  other  pictures  by  Mr.  Rose  were  reproduced  in 
black  and  white,  with  an  accompanying  biographical  sketch  and 
appreciation.  Some  of  these  very  pictures  are  now  owned  in  Los 
Angeles. 


•HIS  BIOGRAPHY 

On  the  return  of  Guy  Rose  to  America  he  took  up  illustration 
in  New  York  as  a  means  of  earning  his  livelihood,  and  from  the  very 
first  had  all  the  work  he  could  do  from  important  literary  magazines. 
But  he  did  not  neglect  his  painting,  and  his  canvases  were  given 
prominent  positions  in  all  the  exhibitions  of  the  Society  of  American 
Artists.  Yet  Paris  still  called  to  him,  and  in  1893  he  went  back, 
immediately  setting  up  a  studio  and  beginning  work  on  pictures  for 
the  next  Salon.  He  also  resumed  study  of  the  figure  at  the  Julian. 

Both  the  pictures  submitted  by  him  to  the  Salon  of  1894  were 
hung  on  the  line,  and  he  was  given  an  Honorable  Mention  when  he 
was  only  twenty-six  years  old — probably  the  first  Californian  to 
win  a  Salon  honor.  The  larger  picture  to  which  the  mention  was 
given,  "Flight  into  Egypt,"  was  an  evening  effect  very  low  in  key. 
It  was  subsequently  engraved  by  Frank  French  for  the  Harpers, 
who  used  it  as  a  frontispiece  for  the  Christmas  number  of  the  maga- 
zine. The  smaller  picture,  "The  Moth,"  exquisitely  painted,  repre- 
sented a  nude  figure  with  immense  night-moth  wings.  The  "moth" 
lies  prone  on  the  floor,  her  wings  scorched,  before  an  open  fire  that 
lights  one  side  of  the  figure.  On  the  other  side  is  an  open  window, 
througb  which  streams  the  cold  blue  light  of  the  moon.  Both  these 
pictures  were  later  shown  in  New  York,  Philadelphia,  Atlanta, 
Buffalo  and  St.  Louis,  the  expositions  of  the  last  three  cities  award- 
ing a  medal  to  one  or  the  other  of  them. 

In  the  summer  of  1894  Mr.  Rose  went  from  Paris  to  Greece  to 
do  some  illustrations  for  Harper's  Magazine,  and  while  there  he  had 


[5] 


GUY  ROSE 

the  first  and  nearly  fatal  attack  of  the  illness  that  shattered  his 
health  and  was  to  disable  him  for  part  of  every  year  thereafter. 
After  a  slow  and  only  partial  recovery  he  traveled  to  Venice,  also 
on  a  mission  for  Harper's,  and  there  he  spent  two  months  before 
returning  to  Paris. 

In  February,  1895,  the  artist  sailed  for  America,  to  rest  for 
six  months  in  California,  going  from  here  to  New  York,  where  he 
lived  for  severa.  years  in  South  Washington  Square.  At  this  time 
he  did  very  little  painting,  but  he  taught  twice  a  week  in  Pratt 
Institute,  and  in  summer  he  had  out-of-door  painting  classes  in  the 
country.  He  also  worked  constantly  at  illustrations  and  cover 
designs  for  the  Harper  publications,  and  for  Scribner's,  the  Century, 
and  the  Youth's  Companion.  Among  the  books  he  illustrated  was 
an  edition  de  luxe  of  Bret  Harte's  works.  Unfortunately,  he  was 
ill  at  intervals,  and  it  was  only  now  that  the  true  nature  of  his  ail- 
ment was  discovered — lead-poisoning  caused  by  the  absorption  of 
white  paint  from  his  brushes.  His  eyes  were  seriously  affected  by 
this,  and  were  operated  upon,  while  at  times  his  hands  were  so  crip- 
pled that  they  had  to  be  strapped  flat  to  a  board.  Finally  he  wras 
forbidden  to  use  oil  paints,  or  even  to  have  them  in  the  house,  and 
this  order  was  enforced  for  ten  years. 

But  France  was  not  forgotten,  and  in  1899  our  artist  returned 
to  Paris  once  again,  though  his  health  was  not  bettered  by  the 
change.  He  was  very  ill  in  Paris  almost  continuously  for  several 
years,  absolutely  unable  to  paint,  and  doing  a  little  illustrating  and 


[6] 


HIS  BIOGRAPHY 

working  on  fashion  drawings  for  Harper's  Bazar,  work  that  was 
uncongenial  and  trying,  but  beautifully  and  faithfully  done.  It  may 
be  mentioned  here  that  some  of  the  best  and  most  noted  French 
artists  haye  done,  and  still  do,  delightful  fashion  work.  But  life  was 
not  all  irksome  duty  for  Guy  Hose.  Part  of  one  winter  was  spent  at 
Biskra  on  the  Algerian  desert,  and  two  or  three  unique  shooting  and 
camping  trips  were  made  from  there.  Trips  were  also  taken  to  Italy 
and  to  California. 

Then,  in  1901,  the  change  to  Giverny  was  made.  Mr.  Rose  had 
known  and  loyed  for  years  this  charming  little  yillage  in  the  valley 
of  the  Seine,  near  Vernon.  It  has  been  the  home  of  MacMonnies, 
Monet,  Frieseke,  Richard  Miller,  Lawton  Parker,  Theodore  Roberts, 
and  many  others,  all  of  whom  haye  done  some  of  their  best  work 
there.  At  Giverny  Mr.  Rose  bought  an  old  stone  peasant  cottage, 
which  he  remodeled  and  added  to,  making  it  a  delightful  house  and 
studio,  and  here  he  liyed  for  eight  happy  years.  The  congenial 
country  life,  with  its  many  healthful  occupations,  and  with  the  added 
pleasures  of  shooting,  fishing,  and  motoring,  re-established  his  health 
to  some  degree,  and  he  was  finally  permitted  to  paint  again — and 
the  enthusiasm  with  which  he  sei/ed  his  brushes  may  be  imagined! 

But  it  was  like  beginning  all  over  again,  for  in  ten  years  meth- 
ods of  painting  had  changed  a  good  deal — and,  of  course,  our  artist's 
ideas  had  changed,  too.  However,  pupils  came  to  him  almost  at 
once,  and  he  began  to  exhibit  in  the  Salon,  as  well  as  to  join  his  good 
friends,  Frieseke,  Miller,  and  Parker,  in  sending  work  to  New  York. 


GUY  ROSE 

where  the  four  Americans  had  a  most  successful  private  exhibition, 
the  success  being  one  of  money  as  well  as  esteem,  for  sales  were 
quick  and  numerous. 

Mr.  Rose,  it  appears,  was  born  under  the  star  that  speeds  the 
traveler  on  his  way.  In  1912  he  returned  to  New  York  with  his 
recent  work,  which  included  landscapes  as  well  as  figures  done  out 
of  doors,  and  these,  with  one  or  two  portraits  painted  that  winter, 
were  exhibited  in  New  York,  Philadelphia,  and  other  cities,  the  New 
York  exhibition  room  being  at  Macbeth's.  Then,  for  two  busy  sum- 
mers— it  was  fine  to  be  at  work  again,  really  at  work  with  paints 
and  brushes ! — he  painted  and  taug'ht  out  of  doors  at  Narragansett 
Pier. 

Now,  ho !  for  the  West  again !  No  place  like  home,  after  all — 
especially  such  a  home  as  awaits  all  of  California's  native  sons.  In 
1914  he  came  back  "for  good/'  He  had  not  painted  here  since  he 
was  a  boy,  and  he  had  always  longed  to  do  the  places  that  were  so 
dear  to  him.  He  had  always  wanted  to  paint  the  Pacific.  He  "did" 
them  well — as  his  pictures  testify.  He  sent  two  of  his  French  land- 
scapes to  the  San  Francisco  Exposition,  and  there  he  was  awarded 
a  silver  medal.  The  canvas  that  won  the  medal  was  recently  pur- 
chased for  the  Cleveland  Museum. 

One  of  the  very  first  things  he  painted  out  here  was,  appropri- 
ately enough,  a  life-size  portrait  of  a  native  daughter,  Miss  Lucretia 
del  Valle  (now  Mrs.  Grady),  as  she  appeared  in  John  Steven 


[8] 


HIS  BIOGRAPHY 

McGroarty's  "Mission  Play."  Tliis  brilliant  piece  of  painting  was 
sent  to  the  Pan-American  Exposition  at  San  Diego.,  and,  of  course.,  it 
took  a  gold  medal.  The  picture  now  belongs  to  Mrs.  Rupert  Hughes. 
Other  recent  California  awards  are  the  first  Black  prize  at  the  Cali- 
fornia Art  Club,  1919,  and  the  William  Preston  Harrison  prize  in 
1921.  Not  long  ago  the  Los  Angeles  Museum  purchased  a  large 
canvas,  "Carmel  Coast,"  for  its  permanent  collection.  Mr.  Rose  has 
been  a  member  of  the  board  of  governors  of  the  Museum  since  1915, 
and  was  for  several  years  director  and  sole  instructor  of  the  Stickney 
Memorial  School  of  Art  in  Pasadena. 

But  it  seems  to  be  an  impossible  task  to  rid  the  human  system 
of  lead-poison.  Mr.  Rose's  old  trouble  asserted  itself  again  on 
February  4,  1921.  While  painting  in  his  Pasadena  garden  he  had  a 
stroke  which  partially  paralyzed  him.  Although  he  has  improved  in 
many  respects  since  then,  he  has  not  yet  been  able  to  use  brush  or 

pencil.  However,  there  is  cause  for  hope  and  belief  that  this  con- 
dition is  not  permanent.  Meanwhile,  we  have  much  of  his  finest 
achievement  with  the  brush  on  exhibition  and  on  sale  at  the  Stendahl 
Galleries,  in  the  Ambassador,  and  Los  Angeles  art  lovers  will  not 
let  it  pass  to  other  cities.  It  is  part  of  the  life-work  of  one  of  our 
most  gifted  sons,  and  it  should  remain  in  Los  Angeles. 

EARL,  STENDAHL. 


[9] 


1.  IN  THE  MUSEE  GARDEN,  TOURS,  FRANCE 

THE  foliage  of  trees  largely  obscures  the  twin  towers  of  the  Tours 
Cathedral.  Moss^  because  of  the  continual  rain?  is  seen  growing  on 
the  balustrade  and  tree-trunks.  The  sky  is  composed  of  a  subtle 
gray  mist.  The  building  in  the  foreground  is  now  used  as  a  museum. 

Signed  at  the  lower  right. 


2.     OFF  POINT  LOBOS 

Heiyht,  24  inches;  length,  29  inches 

THE  distant  horizon  is  barely  preceptible  through  the  in-rolling  fog. 
Cypress  trees  and  rocky  cliffs  guard  this  rugged  coast,  which  holds  a 
record  for  many  shipwrecks.  Artistically  this  painting  has  few 
equals.  Ensemble  of  varied  gray  tints  harmoniously  combined. 

Signed  at  the  lower  left. 
[12] 


3.     LAGUNA  TREES 

Height,  24  inches;  length,  29  inches 

A  LIGHT  grey-green  color  decoration,  high  in  key  and  unforced  in 
composition.  The  wind  is  toward  shore,  and  the  trees  are  bending 
in  the  direction  of  the  moving  clouds. 

Signed  at  the  lower  right. 
[13] 


\ 


1.     INDIAN  TOBACCO  TREES,  LA  JOLLA 

Height,  21  inches;  length,  29  inches 

A  GROUP  of  tobacco  trees  at  the  right,  their  sparkling,  crinkly  green 
leaves  interspersed  with  yellow  flowers,  the  blue  sea  beyond.  Rich 
purple  shadows  run  across  the  foreground,  and  a  bit  of  white  surf 
helps  to  make  this  picture  one  of  bright  happiness. 

Signed  at  the  lower  right. 
[14] 


5.     A  GUAY  DAY,  CARMEL 

Height,  21  inches;  length,  29  inches 

MR.  ROSE  believes  this  is  one  of  his  finest  pictures.  There  is  rich, 
subdued  coloring  of  shrubs  in  the  immediate  foreground,  back  of 
which  the  road  winds,  leading  you  around  the  bay  to  the  distant 
headland  extending  to  the  extreme  left.  Overhead  the  mass  of 
grayish-white  clouds  casts  its  quiet  tone  over  the  sea.  A  most  har- 
monious color  scheme  and  a  perfect  composition. 

Signed  at  the  lower  right. 
[13] 


10.     C ARM EL  SHORE 

Height,  24-  indies;  length,  29  inches 

SHOWING  just  a  bit  of  Carmel  Bay  at  the  right  center.  One  of  the 
characteristic  features  of  Carmel  is  its  white  sand  dunes,  which  are 
shown  with  a  tempered  misty  gray  background  of  high  hills.  A 
truly  beautiful  picture  well  executed. 

Signed  at  the  lower  right. 
[10] 


1 1 .     EARLY  MORNING 

Height,  28%  inches;  length,  23%  inches 

THE  subject,  resting  in  an  easy,  comfortable  position,  is  in  deep 
meditation.  The  blues  and  greens  form  a  colorful  background.  The 
drapery  hangs  gracefully,  and  the  color  throughout  is  harmoniously 
refined. 


Signed  at  the  lower  right. 


[17] 


12.     MAKTIX'S  POINT,  CARMEL 

Height,  21*  inches;  length,  29  inches 

A  HAPPY,  colorful  subject  at  Carmel.  The  rocks  in  the  foreground 
are  covered  with  green  sea-growth,  and  those  to  the  left  center 
reflect  the  warm  sunlight.  The  day  is  very  bright,  and  the  breaking 
surf  seems  to  be  continuously  laughing. 

Signed  at  the  lower  right. 
[18] 


13.     FIG  TREKS,  FRAXCE 

Height,  23%  inches;  length,  28%  inches 

HERE  we  have  a  bit  of  Southern  France  bordering  the  Mediterranean 
with  the  French  Alps  in  the  distance,  the  fig  trees  in  the  foreground 
obscuring  and  breaking  up  the  deep  blue  of  the  sea.  Spring  has  not 
yet  arrived,  as  indicated  by  the  dead  grass  and  weeds  which  have 
turned  to  a  beautiful  golden  yellow  brown.  The  buildings  at  the 
left  center  are  Spanish  in  character.  One  of  the  most  colorful  and 
happy  pictures  in  the  collection. 

Signed  at  the  lower  right* 
[19] 


14.     GREEN  AND  BLUE 

Height,  24>  inches;  length,  29  inches 

CARMEL  BAY  as  blue  as  the  bluest  Mediterranean  on  a  bright  sunny 
day.  The  shallow  water  in  the  foreground  is  a  translucent  green. 
The  white  breakers  rolling  in  toward  the  shore  complete  a  beautiful 
composition. 

Signed  at  the  lower  right. 
[20] 


15.     C ARM EL  DUNES— No.  1 

Height,  24>  inches;  length,  29  inches 

A  BEAUTIFUL  composition,  full  of  truth  and  sincerity,  and  one  of  the 
finest  paintings  by  Guy  Rose,  a  flower-bordered  path  leading  away 
from  the  foreground  to  the  sand  dune  in  the  middle  distance.  Trees 
to  the  left  silhouetted  against  an  incoming  low  fog,  which  is  seen 
kissing  the  hills  in  the  distance.  A  truly  worth-while  painting. 

Signed  at  the  lower  right. 
[21] 


18.     EUCALYPTUS,  LAGUNA  » 

Height,  89X4  inches;  length,  tflVlj  inches 

A  GROUP  of  trees  on  the  crest  of  a  hill  silhouetted  against  a  blue  sky 
filled  with  puff-ball  clouds.  The  grouping  of  the  trees  is  easy  and 
the  composition  is  highly  decorative. 

Signed  at  the  loivcr  right. 
[22] 


19.     THE  SEINE  VALLEY,  FRANCE 

Height,  35  inches;  length,  38  inches 

A  PASTORAL  landscape  with  a  group  of  rural  buildings  in  the  center. 
The  Seine  in  the  distance  flows  through  its  high-walled  valley.  The 
harmonious  gray  color-tones  of  close  values  produce  a  very  beautiful 
effect. 

Signed  at  the  lower  right. 
[23] 


20.     SAN  GABRIEL  MISSION 

Height,  28%  inches;  length,  23%  inches 

THROUGH  the  pepper  trees  the  old  Mission  bells  are  seen  bathed  in 
the  warm  summer  sun.  One  of  the  most  beautiful  parts  of  this 
painting  is  the  lower  right.  Here  an  earthen  jar,  a  sprinkler  and  a 
brimming  tub  of  water  are  grouped  around  a  dripping  tap,,  which 
has  formed  a  puddle  of  water.  A  truly  beautiful  bit  of  still-life. 

Signed  at  the  lower  left. 
[24]' 


21.     THE  OLD  BRIDGE,  FRANCE 

Height,  28%  inches;  length,  23%  inches 

A  CHARMING,  cool  spot  in  delicate  spring  greens.  The  stream  leads 
you  around  a  bend  behind  the  willows,  and  the  surface  of  the  water 
is  sparkling  and  always  in  motion.  One  of  the  best  examples  from 
the  brush  of  Mr.  Rose  while  in  France.  The  old  bridge,  with  its 
reflections,  forms  a  frame,  a  picture  within  a  picture. 


Privately  owned. 


Signed  at  the  lower  right. 


[25] 


I 


25.     ON  THE  HONFLEUR  JETTY 

Height,  23%  inches;  length,  28%  inches 

THE  rain  has  left  the  jetty  and  sails  of  the  fishermen's  boats  satu- 
rated, and  the  passing  storm  is  still  evident  near  the  horizon.  A  low 
atmospheric  pressure  is  noticeable  by  the  downward  curling  smoke 
of  the  jetty  master's  cabin  at  the  left.  A  gray  harmonious  color 
symphony  prevails  over  the  whole  canvas. 

Signed  at  the  lower  right. 
[26] 


26.     MOONLIGHT,  CARMEL 

Height,  24  inches;  length,  29  inches 

ONE  of  the  "silvery  Roses,"  as  delightful  in  surface  quality  of  water 
as  in  charm  of  composition.  A  picture  with  a  delicately  analyzed 
play  of  moonlight  over  the  sea.  Although  the  moon  is  hidden  by  the 
dark  foliage  of  fantastic  Monterey  cypresses,  the  spell  of  its  soft 
and  radiant  luminosity  casts  its  charm  over  one  immediately.  A 
picture  one  never  forgets. 

Signed  at  the  lower  right. 
[27] 


27.     A  SIERRA  TROUT  STREAM 

Height,  24<  inches;  length,  29  inches 

THE  brook,  half  hidden  by  the  dense  green  foliage,  is  Convict  Creek. 
Its  banks  are  carpeted  with  mountain  flowers.  In  the  distance  the 
mountains,  covered  with  snow,  separate  the  clear  blue  sky  from  the 
verdant  green  of  the  meadow.  A  painting  of  sincerity  and  truth. 

Signed  at  the  lower  right. 
[28] 


30.     NOVEMBER  MISTS 

Height,  28%  inches;  length,  23%  inches 

A  BEAUTIFUL  picture  of  spiritual  quality  and  refinement,  considered 
one  of  the  finest  in  the  collection.  It  was  only  recently  offered  for 
sale.  The  silvery  grey  curtain  of  mist  almost  hides  the  trees  on  the 
further  bank ;  and  at  the  lower  left,  yellow  autumn  leaves  float  idly 
on  the  stream.  The  boats  at  the  lower  right,  discarded  from  their 
summer  service,  are  already  forgotten  and  filling  with  water. 


Signed  at  the  lower  right. 


[29] 


32.     SUN  AND  SHADOWS 

Height,  24-1/2  inches;  length,  191/2  inches 

A  DEEP,  limpid  pool,  overhung  with  dense  green  foliage.  The  fore- 
ground is  filled  with  water  lilies  and  pads.  This  is  a  superb  render- 
ing of  reflections,  cool  and  inviting,  penetrating  into  blue  depths. 

Signed  at  the  lower  left. 
[30] 


36.     MONTEREY  CYPRESS 

Height,  21  inches;  length,  24>  inches 

THE  portrait  of  a  cypress  that  has  been  battered  by  the  elements 
for  hundreds  of  years.  Fantastic  in  shape,  gnarled  and  twisted  by 
the  winds,  these  trees  stand  guard  over  the  coast.  The  distant  blue 
sea  adds  enchantment. 

Signed  at  the  lower  left. 


37.     A  CARMEL  PINE 

Height,  21  inches;  length,  24  inches 

A  MASSIVE  pine  near  the  water's  edge,  with  the  deep  blue  sea  and 
bright  sky  showing  through  the  branches.  A  vigorous  subject  in 
strong  colors,  admirably  executed. 

Signed  at  the  lower  right. 
[32] 


48.     MARION 

Height,  15  inches;  length,  18  inches 

MR.  ROSE  is  noted  for  painting  of  hands.  They  never  seem  obvious, 
but  are  always  beautiful  and  gracefully  placed.  The  girl  is  as 
unconscious  of  our  attentive  scrutiny  as  we  are  of  her  hands,  which 
is  a  tribute  to  the  artist's  ability. 

Signed  at  the  lower  right. 
[33] 


63.     72V  THE  OAK  GROVE 

Height,  24<  inches;  length,  21  inches 

A  FIGURE  resting  against  a  young  oak.  light  shadows  playing  through 
the  trees.     One  of  the  few  landscapes  with  a  figure. 

Signed  at  the  lower  right. 
[34] 


64.     SAN  GABRIEL  ROAD 

Height,  23%  inches;  length,  28%  inches 

A  PICTURE  full  of  interest,  and  now  historic,  for  these  old  buildings 
have  been  replaced  with  more  modern  structures.  At  the  top  center 
is  seen  part  of  Mission  San  Gabriel.  The  sunlight  sifting  through 
the  pepper  trees  and  the  arrangement  of  the  old  bench  and  broken 
picket  fence  invite  one  to  linger  in  this  cool,  quiet  spot. 

Owned  by  a  private  collector. 

Signed  at  the  lower  left. 
[35] 


65.     -SVhV  GABRIEL  WASH 

Height,  24  inches;  length,  29  inches 

A  BRIGHT  day  emphasizing  the  glaring  white  sand  of  the  wash,  which 
is  fringed  with  the  ever-present  willows.  A  stream  winds  its  way 
from  the  canyon,  which  is  walled  in  by  the  Sierra  Madre  mountains. 
Perspective  and  distance  are  handled  in  a  masterly  way. 

Property  of  a  private  collector. 

Signed  at  the  lower  right. 
[36] 


66.   NOTRE  DAMP:  /;/<:  GRAS,  HONELEUR,  FRANCE 

Height,  23%  inches;  length,  28:;4  inches 

TREES  in  the  foreground  are  in  their  autumn  colors.  The  quaint  old 
church  is  used  by  the  sailors  of  this  section.  The  feeling  of  air 
through  the  trees  is  superbly  rendered. 

Privately  owned. 

Signed  at  the  lower  right. 
[37] 


67.     THE  LEADING  LADY 

Height,  54  inches;  length,  48  inches 

A  BRILLIANT  piece  of  color  and  an  admirable  composition,  and  at  the 
same  time  a  fine  portrait  of  one  of  Southern  California's  most  beau- 
tiful native  daughters.  This  picture  has  been  reproduced  many 
times,  in  black  and  white  as  well  as  in  color. 

Privately  owned. 


Signed  at  the  lower  right. 


[38] 


68.     THE  MODEL 

Height,  24}  inches;  length,  20  inches 

A  YOUNG  girl  dressed  in  soft  pinks,  very  prim  but  still  graceful, 
against  a  back-ground  of  olive  greens. 

Signed  at  the  lower  center. 
[39] 


69.     CARMEL'S  COAST 

Height,  3lVt  inches;  length,  39%  inches 

THIS  painting  was  recently  purchased  by  the  Los  Angeles  Museum. 
Its  composition,  color  and  sparkling  effects  of  light  produce  a  beau- 
tiful picture. 

Signed  at  the  lower  right. 
[40] 


70.     SAND  DUNES,  CARMEL 

Height,  21  inches;  length,  24  inches 

SAND  dunes  sloping  from  the  right  encircling  the  bay.    The  lowering 
clouds  rest  on  the  distant  hills.     This  is  a  poem  in  grey  and  green. 

Signed  at  the  lower  right. 
[41] 


The  Artist 


YD  34401 


